When Punjab is remembered, either pictures of gigantic, hulking men willing to fight for their motherland or the popular love stories come to our imagination. Punjabi literature can submerge both extremes of love and war it most delicately. While the literature of the wars is resistance against invaders or powers, love is also highly militant. 

History has borne testimony to the fact that, above all, rulers are afraid of love. The tale of Heer Ranjha is the first one that comes to mind when we think about Punjabi love literature. Nevertheless, numerous underrated love stories in the vast tapestry of Punjabi folklore are often ignored. For example, the tragic folktales of Sohni-Mahiwal and Sassi-Punnu have been passed down from generation to generation for very many years. These love narratives subvert gender norms and the marriage institution while demonstrating the strength of love and a counter to society's patriarchal system. 

The Tale of Female Oppression- Navigating Through The Lens of Soni and Mahiwal 

Since Sohni Mahiwal was written by a man, he presents the female characters from a male point of view. Sohni, who is youthful and attractive, is displayed. Even her name, which means "beautiful," reflects the story's emphasis on physical beauty. The main character, Izzat Baig (Mahiwal), is mostly impressed by her physical attractiveness more than her artistic abilities; her physical appeal is a lovely embodiment of feminine beauty. 

Economically, politically, socially, and mentally, women are oppressed by patriarchy; the main tool used to maintain this oppression is patriarchal ideology. Sohni gets married to her cousin against her choice in this scenario as well. It depicts forced marriage as it is typically shown. She is depicted as lacking the authority to select her life mate, and ultimately, she is viewed as a disgraceful or vile individual for pursuing her passions. Sohni's father forbids her from marrying Mahiwal since he is an outsider and doesn't fit in.

The mother-in-law and sister-in-law, among other female characters, are depicted engaging in intrigue with Sohni. The stereotypical mother-in-law and sister-in-law figures are displayed. Although it seems odd that these "family values" have been stifling women's free will for so long, they are depicted defending them. In the heat of envy and the defense of family values, one lady is proved to be against the other by hatching a scheme against her. As a result, the narrative contains all of the stereotypical and unfavorable imagery of female characters. 

The male writer is overpowered by his culture and paints the stereotypical imagery of female characters because, just as biology determines our sex (male or female), society determines our gender (masculine or feminine).

A woman is a "good girl" if she conforms to patriarchal norms and embraces the traditional gender role; if not, she is a "bad girl." Mahiwal, the male character, is depicted as acting by his own free choice. He is never depicted as a bad character. While the figure is only directed at Sohni, no one stops him or holds him accountable for his conduct. Sohni, half-baked pot, and Mahiwal all have metaphorical meanings in Sufi tradition. Sohni is a symbol of the person who sets out on a spiritual quest and longs to become one with God, the ultimate reality. 

The matka symbolizes the right direction one needs to be at one with God since Sohni utilized it to help him navigate the challenging spiritual path or the strong waves of Chenab. Sohni's lack of preparation is symbolized by the partially baked matka. Sohni's demise is caused by his half-baked matka, or lack of preparedness.

Sohni's desire to see Mahiwal is comparable to a devotee's desire to see his God. Punjabi folklore has one thing in common: Death only signifies the union of the believer and God. Both men and women are equally capable of lying and deceiving; if a male does it, society will overlook it, but if a woman does it, it will view her as a disgrace to the entire community. 

Sohni is portrayed by the author as a dishonest wife. This folktale portrays her as unfaithful since she commits adultery by meeting Mahiwal in secret. The mother-in-law and sister-in-law, among other female characters, are depicted as engaging in intrigue with Sohni. The stereotypical mother-in-law and sister-in-law figures are displayed. Although it seems odd that these "family values" have been stifling women's free will for so long, they are depicted defending them. 

The story of Sohni and Mahiwal and gender roles

When one reads the Sohni and Mahiwal story, the female quality of the writing rather than this profound Sufi symbolism first comes to mind. Sohni asserts her autonomy throughout, challenging the gender norms that are traditionally attributed to women. Unlike earlier stories, Sohni herself crosses the Chenab, the river of love, every night to meet her beloved instead of the hero. Sohni used to risk her life every day simply to spend time with Mahiwal, but the hero in this story does not save her.

In contrast to patriarchy, marriage is not emphasized in the narrative. It is not regarded as a holy establishment. Sohni refused to accept her marriage to another potter against her will as the end of her life. For her, marriage was pointless without love, thus, it wasn't the ultimate purpose of her life. Furthermore, she refused to acknowledge the institution of marriage by going to see Mahiwal every night, even though she was married.

Unlike patriarchy, marriage is not emphasized in the story. It is not regarded as a holy organization. Sohni refused to believe that her life was over when she was forced into an unwelcome marriage to another potter. She did not view marriage as the ultimate aim in life; to her, marriage was pointless in the absence of love. Additionally, even though she was married, she would go see Mahiwal every night, demonstrating her refusal to accept the institution of marriage.

Reiterating the stereotypes of the bad woman in literature in the narrative of Sasi Pannu 

During the festivities surrounding Sassi and Punnu's marriage, Punnu was drunk, carried by his brothers on a camel, and returned to their homeland at night. "Sassi Punnu" is a Punjabi song that effectively conveys Sassi's suffering. Sassi encountered a shepherd while running in search of her boyfriend. Sassi asked the shepherd for the milk from his goats since she was thirsty. The man attempted to harass her while assisting her. To keep her honor, Sassi prayed to God. After the ground underneath her broke open in response to her prayers, the only remnant of her above ground was the end of her "dupatta."

According to mythology, Sassi was born in Sind, in the home of the monarch of Bhambore. The astrologers said she would ruin the reputation of the monarchy when she was born. As a result, the infant was placed in a wooden coffin and let to float on the Sindhu River. A washerman in the kingdom discovered the box, took the boy in, and reared him. The profoundly ingrained belief that women should be subdued since they are the family's honor is seen in this incident. 

Women would damage the family's honor if they crossed the boundaries set by the patriarchs. Another tactic used to prevent women from using their agency is the burden of honor. The shepherd tries to take advantage of Sassi when she begs him to quench her thirst, demonstrating how a woman without a man is viewed as an object with no free will. In Punjabi homes, the oral histories of Sohni-Mahiwal and Sassi-Punnu are still recited to highlight how only death can guarantee the lovers' final union. Furthermore, sharing and recounting these tales can encourage more feminist discussions.

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